Gender in Play on the Shakespearean Stage: Boy Heroines and Female PagesUniversity of Michigan Press, 1994 - 282 páginas Cross-dressing, sexual identity, and the performance of gender are among the most hotly discussed topics in contemporary cultural studies. A vital addition to the growing body of literature, this book is the most in-depth and historically contextual study to date of Shakespeare's uses of the heroine in male disguise--man-playing-woman-playing-man--in all its theatrical and social complexity. Shapiro's study centers on the five plays in which Shakespeare employed the figure of the "female page": The Two Gentlemen of Verona, The Merchant of Venice, As You Like It, Twelfth Night, and Cymbeline. Combining theater and social history, Shapiro locates Shakespeare's work in relation to controversies over gender roles and cross-dressing in Elizabethan England. The popularity of the "female page" is examined as a playful literary and theatrical way of confronting, avoiding, or merely exploiting issues such as the place of women in a patriarchal culture and the representation of women on stage. Looking beyond and behind the stage for the cultural anxieties that found their way into Shakespearean drama, Shapiro considers such cases as cross-dressing women in London being punished as prostitutes and the alleged homoerotic practices of the apprentices who played female roles in adult companies. Shapiro also traces other Elizabethan dramatists' varied uses of the cross-dressing motif, especially as they were influenced by Shakespeare's innovations. "Shapiro's engaging study is distinguished by the scope of interrelated topics it draws together and the balance of critical perspectives it brings to bear on them." --Choice Michael Shapiro is Professor of English, University of Illinois, Urbana. |
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Página
... Playhouses and Plays 29 Chapter 3 Cross - Gender Disguise plus Cross - Gender Casting 49 Part 2 Chapter 4 Dramaturgical Variations on Variations Bringing the Page Onstage : The Two Gentlemen of Verona 65 Chapter 5 Doubling Cross ...
... Playhouses and Plays 29 Chapter 3 Cross - Gender Disguise plus Cross - Gender Casting 49 Part 2 Chapter 4 Dramaturgical Variations on Variations Bringing the Page Onstage : The Two Gentlemen of Verona 65 Chapter 5 Doubling Cross ...
Página 1
... playhouse , for women's roles were normally assigned to young male apprentices called play - boys . For many spectators , women in male disguise as pages , squires , and the like bore some relationship to women who dressed or passed as ...
... playhouse , for women's roles were normally assigned to young male apprentices called play - boys . For many spectators , women in male disguise as pages , squires , and the like bore some relationship to women who dressed or passed as ...
Página 4
... playhouse . In her book on transvestism , Vested Interests : Cross - Dressing and Cultural Anxiety , Garber argues that transvestism in general has this disruptive power , so that for her the cross - dressed hero- ine played by a boy ...
... playhouse . In her book on transvestism , Vested Interests : Cross - Dressing and Cultural Anxiety , Garber argues that transvestism in general has this disruptive power , so that for her the cross - dressed hero- ine played by a boy ...
Página 6
... playhouses , which were licensed for commercial entertainment . Located within liberties or sub- urbs beyond or exempt from municipal jurisdiction , the theaters of Lon- don in turn provided their own privileged minizones of licensed ...
... playhouses , which were licensed for commercial entertainment . Located within liberties or sub- urbs beyond or exempt from municipal jurisdiction , the theaters of Lon- don in turn provided their own privileged minizones of licensed ...
Página 11
... playhouse and that presence was , then as now , a part of the audience's consciousness . This interplay between the actor as character ( in or out of disguise ) and the actor as actor , sometimes taking place on the stage and sometimes ...
... playhouse and that presence was , then as now , a part of the audience's consciousness . This interplay between the actor as character ( in or out of disguise ) and the actor as actor , sometimes taking place on the stage and sometimes ...
Índice
A Brief Social History of Female CrossDressing | 15 |
Male CrossDressing in Playhouses and Plays | 29 |
CrossGender Disguise plus CrossGender Casting | 49 |
Bringing the Page Onstage The Two Gentlemen of Verona | 65 |
Doubling CrossGender Disguise The Merchant of Venice | 93 |
Layers of Disguise As You Like It | 119 |
Anxieties of Intimacy Twelfth Night | 143 |
From Center to Periphery Cymbeline | 173 |
Epilogue | 199 |
Appendixes | 205 |
Sources Analogues and Models | 207 |
Chronological List of Plays with Heroines in Male Disguise | 221 |
Legal Records of CrossDressing | 225 |
Notes | 235 |
277 | |
Outras edições - Ver tudo
Gender in Play on the Shakespearean Stage: Boy Heroines and Female Pages Michael Shapiro Visualização de excertos - 1994 |
Gender in Play on the Shakespearean Stage: Boy Heroines and Female Pages Michael Shapiro Visualização de excertos - 1994 |
Palavras e frases frequentes
actresses androgyny Antonio argues audience audience's Bassanio Bellario boy actor boy bride boy heroine Bridewell Cesario cheeky Comedy court cross-dressed cross-dressed heroine cross-gender casting cross-gender disguise Cymbeline disguised heroine donned male dramatic dramatists dressed Elizabethan English Renaissance evoke female character female cross-dressing female impersonators female pages female roles feminine Fletcher Gallathea Ganymed gender identity Gentlemen of Verona heroine in male heroine's Hic Mulier homoerotic homosexual Imogen intimacy Jacobean Jonson Julia King's Lady Lady Mary Wroth layers of gender layers of identity London lover Lylian male actors male apparel male attire male disguise male identity male performer Merchant of Venice Middleton motif Mulier narrative Olivia onstage Orlando Orsino page's Philaster play play-boy play's playhouse playwrights plot Portia prostitutes Proteus reflexive reveals Roaring Girl romance Rosalind Sebastian servant sexual Shakespeare Silvia social spectators stage theater theatrical vibrancy thee tragicomedy transvestism transvestite Twelfth Night Viola wife woman women
Passagens conhecidas
Página 268 - Norman Rabkin, Shakespeare and the Common Understanding (New York: Free Press, 1967), p.
Referências a este livro
Privacy and Print: Reading and Writing in Seventeenth-century England Cecile M. Jagodzinski Pré-visualização limitada - 1999 |
Cross-Dressing in Chinese Opera: Reconfiguring American Literary Studies in ... Siu Leung Li Pré-visualização indisponível - 2003 |